Buy our latest record "Dark & Full of Life". Send US $ 12 via PayPal to jane@janelecroy.com and send an email requesting the album with your postal address to jane@janelecroy.com.

Transmitting (AKA: Story With Icebergs) has been carving out its own brand of improvisational experimental pop for more than a decade as documented on their latest record 'Dark and Full of Life', out now on the Austrian label, Delphy Rekords. Consisting of the poetry and song of the illustrious Jane LeCroy (Sister Spit, Somnaut, Nu Voices), the unorthodox cello work of Tom Abbs (Hungry March Band, Andrew Lamb Trio), the persuasive percussion of David Rogers-Berry (O’Death, Hungry March Band) and collaborations of guest drummers, beatboxers and spoken word artists; Transmitting's music takes the audience on a lucid musical and lyrical ride through the sub conscience and dream world of a wayward soul looking for redemption. Catchy melodies, biting improv, and infectious groove with a healthy dose of sardonic wit awaits any who witness.

Tom Abbs studied jazz performance and

compositionat the New School in the early 90s

where he met Jane while she was at Lang a few blocks

away. He spent much of the 90s playing bass around

NYC and doing artist residencies in the public schools.

In 1998 he founded the not-for-profit Jump Arts,

which presented musicians, poets, painters and

dancers in performance spaces around New York

and the eastern seaboard. He later went on to be

the General Manager of the legendary Rock and

Jazz label ESP-Disk and is now co-owner and CEO

of the record label Northern Spy. Tom has played

on over 40 albums on bass, tuba, cello and other

assorted instruments and is a current member of

the Hungry March Band and Transmitting, with

Jane LeCroy and David Rogers-Berry.

David Rogers-Berry, in 2009, came down with bone cancer, a form of adversity requiring no quotation marks. Nowadays, he still plays drums in O’Death in addition to Hungry March Band and TRANSMITTING. He just does it with a chunk of metal where part of his shoulder bone used to be, because he is hardcore in ways Lars Ulrich could never conceive of being. Online clips of recent O’Death performances suggest he’s only downgraded from really crazy to somewhat-less crazy, but it’s all relative.